Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Japan and from Philadelphia.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1979.
I'm losing my edge.
To all the kids in Taipei and Calgary.
I'm losing my edge to the art-school New York kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Seeds to the jazz kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by the Soft Cell. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Barrington Levy record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Womack record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
Tim Buckley,
Graham Central Station,
Dead Boys,
Fatback Band,
Girls At Our Best!,
Half Japanese,
Organ,
World's Most,
Camberwell Now,
Massinfluence,
Outsiders,
The Pop Group,
Bootsy Collins,
Das Ding,
Deepchord,
Monks,
Fort Wilson Riot,
The Leaves,
Barrington Levy,
Man Parrish,
Kool Moe Dee,
Big Daddy Kane,
Sam Rivers,
Terry Callier,
Pole,
Oblivians,
The Walker Brothers,
Soul II Soul,
Selector Dub Narcotic,
Eric B and Rakim,
Moebius,
the Association,
Q65,
Pharoah Sanders,
The Mighty Diamonds,
Eli Mardock,
Joe Smooth,
Siglo XX,
LL Cool J,
Eyeless In Gaza,
K-Klass,
Rufus Thomas,
Aswad,
Orchestral Manoeuvres in the Dark,
Underground Resistance,
Youth Brigade,
Albert Ayler,
Faraquet,
Funky Four + One,
The Fall,
Aural Exciters,
DeepChord presents Echospace,
Wasted Youth,
Dorothy Ashby,
Nik Kershaw,
Black Moon,
Eve St. Jones,
Vaughan Mason & Crew,
Zero Boys,
Henry Cow,
The Index,
Davy DMX,
Clear Light, Clear Light, Clear Light, Clear Light.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.